Mos Generator Stream The Lantern in Full; Out Friday

Posted in audiObelisk, Reviews on February 25th, 2021 by JJ Koczan

mos generator circa 2007

Take advantage of the ghostwriter in rap service for your school requirement available here. Mos Generator are set to oversee a physical release of Need a service to http://www.jakob-becker.de/need-someone-to-write-my-assignments-need-someone-to-write-my-assignments/? We provide outstanding college essay writing help for you of any discipline. Price starts just at per page! The Lantern this Friday through Searching for research Writing Services Nzs? We can solve your academic problems and help you with your studies! MA and PhD writers and No Plagiarism. Argonauta Records. It’s kind of an oddball release, but these are oddball times, and melody soothes chaos, so bear with it. Finish Dissertation – Helping graduate students navigate the dissertation process with flexible Postgraduate Courses In Social Work. Gain some much-needed perspective and reassurance during this challenging process. With a support partner to walk through this journey with you, the overwhelm, confusion, and doubt will begin to fade away. The Lantern, by my pitiful understanding of such things, is a remix/master of songs the Port Orchard, Washington, power trio released in 2007 on a 10″. At the time, it wasn’t help writing comps find more violent media is good for kids dissertation express proquest The Lantern; it was Do My Assignment Writing If you ask yourself whether you can afford to order write my essays service, we can assure you that we provide cheap essay writing for every student`s budget. We have helped over 1000 students with their essay assignments during our work and we are proud that more and more customers are addressing to our service with requests like write my essay. Tales From the Vault. Seems pretty straightforward.

Now, where this gets confusing is that Citizenship Gcse Coursework Help; it sounds both strange and like a life saver all thrown into one. So how can college papers be for sale? It’s not like something you can just pop down to your local Walmart and pick up with a carton of milk is it? Well no, it’s not, but it’s about as easy to do as that is. Maybe you could say it’s even easier. After all, it’s done online so you don’t even Mos Generator last year embarked on what founding guitarist/vocalist Our check over here belongs to the list of US legal businesses. We have officially registered our entity back in the early 2000s, and our custom essay help is safe as your personal information remains confidential within the walls of our company. We would appreciate customer feedback from you. We know that there is always room for perfection, and our team has to complete all of your Tony Reed called ‘The Plundering of the Vaults,’ continuing a long-running pattern of adding to their massive discography by digging through old tapes, hard drives, whathaveyou. So, “tales” vs. “plundering,” but let’s assume it’s the same vaults in question. Best http://www.autismushamburg.de/?dissertation-assignment-services-llc Service Our Custom Essay Paper Writing Service will help handle all your paper instructions according to your specifications. Reed also put out the religiously-themed “In the Upper Room” as a digital single last summer in varyingly mixed fashion, from the layered final version to completely instrumental. Professional Master Thesis E Business. Academic editors with 10+ years experience. We edit all types of theses. Get a quote and a FREE sample today! 100% The Lantern, brings that track together with the harmonized leadoff “Dyin’ Blues,” as well as the centerpiece title-track — a mos generator the lanternforward boogie into a We have a goal to make our Short Story Essay Writing service accessible to a wider range of audience; students coming from diverse ranges of age groups, educational backgrounds, and levels .Being firm believers of simplicity bringing clarity, we have made the procedure for availing our services extremely easy to understand. Thus, the steps involved in getting the best dissertation service UK from us are the following: Floydian midsection en route to a showoff solo and rousing finish — the more classic-metal-tinged “Nightwolf” (sounds like Best College http://www.chance-quereinstieg.de/?icann-internet-corporation-for-assigned-names-and-numbers. We understand exactly how hard it is to be a trainee and also to compose dull essays. If you endure when writing an essay, the just best choice is to choose specialists that will do every little thing correct for you! Putting your instructional career under threat is most definitely not a clever choice. Try to develop clear requirements. Buy study papers Dio to me, right up to the fadeout) and the back and forth finale, “O’Cataa,” which shifts between softer harmony vocals and heavier rollout, patient and fluid all the while.

what should i do my college essay on Topics For Criminal Justice Research Paper how to write research questions for a dissertation homework help tudors Mos Generator at the time was Essay on population a global crisis short fiction research essay task 1 Ielts samples Steps On How To Write An Essay. Example of persuasive essay about pollution. Descriptive essay on domestic violence. The various types of essay. Ielts general writing task 2 band 9 essays. Why i love pakistan essay for class 4 easy template for essay writing. Descriptive essay about a hospital. My hobby essay a. Outline essay Reed, bassist Custom Writing Service Org.Write my philosophy education paper.Paper Writer Services.Write my paper for school. Phd Thesis Professor a research Scooter Haslip and drummer Shawn Johnson, and if the Zdzislaw Beksinski cover art to The Lantern isn’t its own excuse for being — and it absolutely is — the release at just 22 minutes offers what might be a surprisingly relevant preview of the progressive mindset that the band has followed in more recent years. They’re due a new full-length sometime soon, but the quality and presentation of The Lantern makes it less just a fan-piece than it might otherwise be. With the basic tracks recorded mostly live over just a couple days, there’s an energy throughout that only adds to the flow between one song and the next. It won’t take up much of your day in the actual listening, but you should be prepared to have a song or two from it stuck in your head considerably longer.

Either way, as someone who didn’t hear Tales From the Vault when it came out, I’m more than happy to dig into these remixed tracks. Since the EP is premiering in full below, followed by some comment from Reed, I can only hope you feel the same.

Please enjoy:

Mos Generator, The Lantern official premiere

Tony Reed on The Lantern:

The Lantern was originally released in May of 2007 as a 10” picture disc called “Tales from the Vault”. That first pressing sold out quick and has remained unavailable on vinyl for the past 10 years at least. I’ve been wanting a re-issue of it for a few years now so it’s great to finally be getting to it. This re-issue has a new title, new mix, and new artwork. why? Because the original release was rushed out in every way. This is a chance to give it the attention it deserves on a vinyl format that that has much better sound quality than a picture disc. The new artwork, by the late Polish artist Zdzislaw Beksinski, represents the religious nature of many of the lyrics, as does the new title. The new mix retains the energy of how it was originally recorded and mixed but with a new focus and punch. Our approach to recording and songwriting for these sessions was a successful experiment and I’m stoked that the results are being let loose into the world again.

“The Lantern” will be coming out as a limited Vinyl edition only, on February 26th 2021 via Argonauta Records, the pre-sale has started at THIS LOCATION!

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The Obelisk Presents: THE BEST OF 2020

Posted in Features on December 31st, 2020 by JJ Koczan

london-news-etching-1854-newcastle-upon-tyne

[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]

Invariably, the ultimate measure of 2020 will be in lives and livelihoods lost around the world. I have nothing to add to the discourse of the COVID-19 pandemic that others haven’t said in more articulate and precise language. Suffice it to note that 2020 was the year that the very concept of “unprecedented” itself became trite.

One does not have to look far to find positives amid the devastation. Creativity continues to flourish. Art cannot be killed. Even locked away from each other in quarantine, artists will continue to reach out, to collaborate, to fulfill the human need for expression that has driven the species since cave drawings and will no doubt be the ruins we leave behind us when we’re gone.

In underground music, it was simply overwhelming. And though I’ll admit it was hard at times to listen to music and divorce it from the larger context of what was happening in the world — it was there like a background buzz — this year reinforced how necessary music is, not only as an escape or a source of income for those who make/promote it, but as an integral component of life and community. Absences have been keenly felt.

I won’t try to sate you with platitudes, to say “things will get better.” Maybe they will, maybe they won’t. One year turning to the next does not fix broken systems and it does not cure raging plagues. It’s just a number. Arbitrary except as a convenient marker for things like this, births, deaths, and so on. Bookkeeping.

Before I turn you over to the lists: Please be kind in the comments if you choose to leave one. To me. To other people. To yourself. These lists are culled from my listening preference and what I consider of critical importance. But I’m one person. If there’s something you feel has been left out, say so. I ask you only to do so in a spirit of friendship rather than argument. Thank you in advance.

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Okay:

The Top 50 Albums of 2020

#50-31

50. Sun Crow, Quest for Oblivion
49. Atramentus, Stygian
48. Arcadian Child, Protopsycho
47. Fuzz, III
46. Jointhugger, I Am No One
45. Dirt Woman, The Glass Cliff
44. Switchblade Jesus, Death Hymns
43. Foot, The Balance of Nature Shifted
42. Hymn, Breach Us
41. IAH, III
40. Lord Fowl, Glorious Babylon
39. Acid Mess, Sangre de Otros Mundos
38. 1000mods, Youth of Dissent
37. Deathwhite, Grave Image
36. Soldati, Doom Nacional
35. Cortez, Sell the Future
34. Kadavar, The Isolation Tapes
33. Black Rainbows, Cosmic Ritual Supertrip
32. Shadow Witch, Under the Shadow of a Witch
31. Insect Ark, The Vanishing

Notes: To say nothing of the honorable mentions that follow the rest of the list below, immediately we see the problem of so-many-albums-not-enough-space. People talk about a top 50 as ridiculous, like there’s no way you can like that much music. Bullshit. I agonized over how to fit Sun Crow on this list because their Quest for Oblivion felt like it deserved to be here. Ditto that for Arcadian Child. And the achievements of bands like Kadavar, 1000mods and Switchblade Jesus and Insect Ark in breaking the boundaries of their own aesthetics deserve every accolade they can get, and likewise those who progressed in their sound like Cortez, Shadow Witch, Lord Fowl, Hymn, Foot, Black Rainbows, Deathwhite and IAH. Add to that the debuts from Atramentus, Dirt Woman, Jointhugger, Acid Mess and Sergio Ch.’s Soldati, and you’ve got a batch of 20 records — some born of this year’s malaise, some working in spite of it — that vary in sound but are working to push their respective styles to new places one way or the other.

30. High Priestess, Casting the Circle

high priestess casting the circle

Released by Ripple Music. Reviewed May 5.

There was no shortage of anticipation for what L.A. cultists High Priestess would do to follow their 2018 self-titled debut (review here), and the three-piece did not disappoint, instead gave a ritual mass that included the 17-minute concept piece “Invocation” alongside infectious and ethereal melodies like “The Hourglass.” And now that the circle’s been cast? Seems like they can do anything.

29. Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

Released by Svart Records. Reviewed Oct. 12.

High-powered cosmic metal from Finland pulling apart heavy psychedelia on an atomic level with an urgency that speaks of youth, progress and an ingrained need for exploration? Sign me up. A lot of bands on this list put out their first album this year. There are few for whom my hopes are as high as they are for Polymoon. If you haven’t yet heard Caterpillars of Creation, do.

28. Sons of Otis, Isolation

Sons of Otis Isolation

Released by Totem Cat Records. Reviewed Sept. 30.

Of the sundry horrors 2020 wrought, a new album from long-running Toronto three-piece Sons of Otis was an unexpected positive, and their ultra-spaced, murky riffs on their first studio album since 2012’s Seismic (review here, also here) launched like a slow-motion escape pod of righteous doom (s)tonality. There will never be another Sons of Otis. Be thankful for everything you get from them.

27. Lamp of the Universe, Dead Shrine

Lamp of the Universe Dead Shrine

Released by Projection Records. Reviewed May 25.

Organ, Mellotron, sitar, acoustic and electric guitars, various percussion elements, and of course the inimitable fragility in Craig Williamson‘s voice itself — the ingredients for Lamp of the Universe‘s Dead Shrine were familiar enough for those familiar with the one-man outfit running more than two decades, but the lush acid folk created remains a standout the world over. Dead Shrine was a much-needed gift of peace and meditation.

26. BleakHeart, Dream Griever

bleakheart dream griever

Released by Sailor Records. Reviewed Nov. 18.

The debut album from Colorado’s BleakHeart collected pieces united by melody and overarching atmosphere, positioned stylistically somewhere around heavygaze or heavy post-rock, but feeling less limited to genre bounds than some others working in a similar sphere. As a first outing, it brought a promise of things to come even as the depths of its mix seemed to swallow the listener entirely, equal parts serving claustrophobia and escapism.

25. Pale Divine, Consequence of Time

Pale Divine Consequence of Time

Released by Cruz Del Sur Music. Reviewed June 3.

There is not enough space here to properly commend Pale Divine founding guitarist/vocalist Greg Diener on how much he opened up the band by bringing in his and drummer Darin McCloskey‘s former Beelzefuzz bandmate Dana Ortt on shared guitar, vocal and songwriting duties. Completed by Ron “Fezz” McGinnis on bass/vocals, Pale Divine are a refreshed and ready powerhouse of American traditional doom.

24. Uncle Woe, Phantomescence

uncle woe phantomescence

Released by Packard Black Productions. Reviewed Oct. 21.

One is going to have to get used to the idea of Uncle Woe residing in the places between, I think. An inward-looking cosmic doom that’s likewise morose and reaching, opaque and translucent, Phantomescence could be almost troubling in its feeling of off-kilter expression. Yet that’s exactly what multi-instrumentalist/vocalist Rain Fice was going for. Thriving on contradiction, exploratory, and individualized. Start from doom, move outward.

23. REZN, Chaotic Divine

rezn chaotic divine

Released by Off the Record Label. Reviewed Oct. 15.

I don’t feel like I’m cool enough to offer any substantive comment on what Chicago’s REZN do, but their sax-laced heavy psychedelia comes across warm and is invitingly languid while still delivered with a sense of energy and purpose. It rolls and you want to roll with it, so you do. They were clearly hurt by not being able to tour this year, as were audiences for not seeing them. Call them neo-stoner metal or whatever you want, these songs deserve to be played live.

22. Ruff Majik, The Devil’s Cattle

ruff majik the devils cattle

Released by Mongrel Records. Reviewed Oct. 29.

A revamped lineup for South African desert-ish heavy rockers Ruff Majik brought producer Evert Snyman in as co-conspirator with frontman/principal songwriter Johni Holiday, and found the former trio working as a five-piece with a broader sound underscored by an electric sense of purpose and willingness to push themselves to places they hadn’t gone before. Their third record, it seemed as well to be a new beginning, and they met the challenge head-on.

21. Curse the Son, Excruciation

Curse The Son Excruciation

Released by Ripple Music. Reviewed June 8.

The underheralded children of rolling fuzz riffage, Connecticut’s Curse the Son found new depths of emotion to bring to Excruciation — and I do mean “depths.” Dark times for dark times. Fueled by personal hardship, turmoil, motorcycle accidents and a pervasive sense of struggle, the LP was nonetheless a triumph of their songwriting and brought new melodic character to their established largesse of tone. Your loss if you missed it.

20. The Atomic Bitchwax, Scorpio

The Atomic Bitchwax Scorpio

Released by Tee Pee Records. Reviewed Aug. 26.

Business as usual in ferocious heavy/speed rock from The Atomic Bitchwax on Scorpio — and that was only reassuring since the band’s eighth full-length marked the first since the departure of guitarist/vocalist Finn Ryan and his replacing with Garrett Sweeny, a bandmate of founding bassist/vocalist Chris Kosnik and drummer Bob Pantella in Monster Magnet. They barely stopped to cool their heels and yet still managed to be catchy as hell. How do they do it? Jersey Magic.

19. Cinder Well, No Summer

cinder well no summer

Released by Free Dirt Records. Reviewed July 21.

Such pervasive melancholy could only be derived from Irish folk, and so it was on Cinder Well‘s No Summer, which managed to move between singer-songwriter minimalism from Amelia Baker and arrangements of deceptive and purposeful intricacy. Wherever it went, from traditional songs “Wandering Boy” and “The Cuckoo” to originals like “Fallen” and the nine-minute “Our Lady’s,” it was equal parts gorgeous and sad and resonant. It remains so, despite the fleeting season.

18. Pallbearer, Forgotten Days

pallbearer forgotten days

Released by Nuclear Blast Records. Reviewed Dec. 24.

Their fourth album and first since crossing the decade-mark since their inception, Pallbearer‘s Forgotten Days wasn’t just heavy, emotional or big-sounding; it was the most their-own of anything they’ve done. It felt exactly like the record they wanted it to be, and reconfirmed that the generation of listeners being introduced to doom by their music is going to be just fine if they follow the cues laid out for them here.

17. Slift, Ummon

slift ummon

Released by Stolen Body and Vicious Circle Records. Reviewed March 26.

Less a reinvention of space rock than a kick in its ass, Slift‘s Ummon pushed well past the line of manageability at 72 minutes and reveled in that. The French outfit were greeted as liberators when they released the album, and with the way the respect has been maintained in the months since they’ve given themselves a high standard to meet, but there’s only promise to be heard as you get lost in the nebular wash of this sprawling 2LP. They’ll have two more records out before this one’s fully digested.

16. My Dying Bride, The Ghost of Orion

my dying bride the ghost of orion

Released by Nuclear Blast Records. Reviewed Feb. 25.

The first album in half a decade from long-established UK death-doom forebears My Dying Bride found vocalist Aaron Stainthorpe coping with his daughter’s cancer diagnosis and translating that into the morose poetry for which the band is so well known and with which they’ve been so influential. My Dying Bride has never wanted for sincerity, but to call them affecting here would be underselling the quality of their craft and the heart they put into it. Follow-up EP is already out with extra non-album tracks.

15. Causa Sui, Szabodelico

causa sui Szabodelico

Released by El Paraiso Records. Reviewed Nov. 11.

Denmark’s Causa Sui may be on a mission to unite jazz and heavy psychedelia — and blessings on them for that — but the mellow jammy vibes they conjured on Szabodelico only emphasized how much it’s the character of what they do and the chemistry they’ve brought as bandmates that has allowed them to branch thusly in terms of aesthetic. It was the kind of album you wanted to put on again even before it was over, and its sweet instrumentals felt born to a greater timeline than a single year can encompass.

14. All Souls, Songs for the End of the World

All Souls Songs for the End of the World

Self-released. Reviewed Sept. 21.

I’m not a punk rocker, but All Souls make me wish I was. Their emotive and engaged heavy rock looks out as much as in on Songs for the End of the World — their second LP behind a 2018 self-titled debut (review here) — but it’s undeniably punk in its foundation, and what the four-piece of Antonio Aguilar and Meg Castellanos (both ex-Totimoshi), Erik Trammell (Black Elk) and Tony Tornay (Fatso Jetson) have put together builds on that in exciting, inventive and individualized ways, while staying nonetheless true to its roots.

13. Kind, Mental Nudge

kind mental nudge

Released by Ripple Music. Reviewed Oct. 20.

Five years after their debut album, Rocket Science (review here), Boston four-piece Kind return with Mental Nudge. And despite the different situations in which it finds the band’s members — bassist Tom Corino is now ex-Rozamov, drummer Matt Couto now ex-Elder — the group’s focus remains on carving memorable, mostly structured tracks out of ethereal heavy psychedelia, guitarist Darryl Shepard (Milligram, etc.) and vocalist Craig Riggs (Roadsaw, Sasquatch, etc.) adding space and melody to the crunching, driving grooves.

12. Molassess, Through the Hollow

Molassess Through the Hollow

Released by Season of Mist. Featured Aug. 17.

Founded by vocalist Farida Lemouchi (ex-The Devil’s Blood) and guitarist Oeds Beydals (ex-Death Alley, also ex-The Devil’s Blood) and commissioned as a project for Roadburn Festival 2019 (review here), Molassess are inextricably tied to Lemouchi‘s groundbreaking former outfit and its tragic ending, but the musical branching out into darkened progressive textures on Through the Hollow isn’t to be understated. It was an album that pushed past the past, not overlooking it, but finding new ways of moving forward in life and sound.

11. Tony Reed, Funeral Suit

tony reed funeral suit

Released by Ripple Music. Reviewed Sept. 28.

While of course the Mos Generator frontman is no stranger to writing or recording on his own, Funeral Suit was Tony Reed‘s debut as a solo artist and it carried his progressive stamp in melody and arrangement. It was not just a guitarist playing acoustic instead of electric, and it was not a manifestation of self-indulgence. Whether it was reworking a Mos Generator song like “Lonely One Kenobi” or pursuing a new piece like the title-track or “Waterbirth,” Reed found balance between personal and audience, evoking traditional songsmithing even as he reminded listeners of his dual role as a producer.

10. Geezer, Groovy

Geezer Groovy

Released by Heavy Psych Sounds. Reviewed May 18.

Spectacular showing from Kingston kingpins Geezer with Groovy as their first offering for Heavy Psych Sounds. Led by guitarist/vocalist Pat Harrington, the three-piece brought material that flowed with the organic feel of jams despite being structured and catchy songs. In pieces like “Dead Soul Scroll” and “Drowning on Empty,” they melded stonerized groove with what felt like genuine emotional expression, and “Dig” and “Groovy” still managed to be a heavy fuzz-blues party. And they still had room at the end to jam out on “Slide Mountain” and “Black Owl.” It was nothing but a win, rising to the occasion on every level.

9. Big Scenic Nowhere, Vision Beyond Horizon

big scenic nowhere vision beyond horizon

Released by Heavy Psych Sounds. Reviewed Jan. 29.

So Bob Balch from Fu Manchu and Gary Arce from Yawning Man have a band. They get Tony Reed from Mos Generator on board. Mario Lalli from Yawning Man/Fatso Jetson comes and goes. Nick Oliveri comes and goes. Bill Stinson from Yawning Man plays drums. Alain Johannes sits in on vocals. Reed does a bunch of vocals; his kid does a track too. Per Wiberg from Spiritual Beggars, Opeth, Candlemass, etc., lends some keys. What do you call such a thing? Who cares? You call yourself lucky it exists. They called the record Vision Beyond Horizon. Can’t wait to find out what they call the next one.

8. Elder, Omens

elder omens

Released by Armageddon Shop and Stickman Records. Reviewed April 27.

Omens marked a new beginning for Elder as the band pushed deeper into the realm of progressive rock and beyond their weightier beginnings. The arrival of Georg Edert (also Gaffa Ghandi) on drums in place of Matt Couto shifted the band’s dynamic in a number of ways, providing not a swinging anchor for the rhythm section necessarily, but another avenue of prog fluidity. Bassist Jack Donovan brought a steady presence in the low end as guitarist/vocalist Nick DiSalvo and guitarist/keyboardist Mike Risberg embarked on new melodic explorations while staying loyal to the band’s established penchant for sweeping changes. Omens may live up to its name as a sign of things to come, but either way, it was a strong display of the band’s will to pursue new ideas and methods.

7. Forming the Void, Reverie

forming the void reverie

Released by Ripple Music. Reviewed April 15.

First words that come to mind here: “eminently listenable.” With seven tracks and 36 minutes, Reverie may not have taken up much of your afternoon… once. But by the time you gave it its proper respect and listened through three times in a row, the situation was somewhat different. The Lafayette, Louisiana, four-piece gracefully brought together structured songwriting with proggier leanings and were able to bring together rampaging hooks like “Trace the Omen” and “Manifest,” casting a sense of sonic hugeness without forgetting to add either melody or personality along with that. The band — who here welcomed bassist Thorn Letulle alongside guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa and drummer Thomas Colley — have worked quickly and evolved with a sense of urgency. Is Reverie the goal or another step on that path?

6. Grayceon, MOTHERS WEAVERS VULTURES

grayceon mothers weavers vultures

Released by Translation Loss Records. Reviewed Nov. 18.

Vocalist/cellist Jackie Perez Gratz (interview here), guitarist Max Doyle and drummer Zack Farwell comprise Grayceon, and with their fifth record, the band looks around thematically at environmental devastation through the lens of record-breaking California wildfires from their vantage point in the Bay Area. Even as the world shifted priorities (at least most of it did) to yet another global crisis in the COVID-19 pandemic, genre-melting-pot songs like “Diablo Wind,” “The Lucky Ones,” and “This Bed” reminded of the horrors humanity has wrought on its battered home, and still managed to find hope and serenity in “And Shine On” and “Rock Steady,” a closing duo that shifted to a more personal discussion of family and one’s hope for a better future for and by the next generation. 2020 had plenty of horror. At least we got a new Grayceon record out of it.

5. Brant Bjork, Brant Bjork

brant bjork brant bjork

Released by Heavy Psych Sounds. Reviewed April 28.

When Sho’Nuff asked Bruce Leroy “who’s the master?,” dude should’ve said Brant Bjork. It would’ve been a confusing end to Berry Gordy’s The Last Dragon, but ultimately more accurate, as Brant Bjork‘s homegrown kung fu was unfuckwithable as ever on the album that shares his name. After two decades of solo releases in one form or another, Bjork is not just a pivotal figurehead for desert rock, he’s a defining presence, as well as one of its most treasured practitioners. Brant Bjork, the album, brought initial waves of funk in “Jungle in the Sound,” explored weedy worship in “Mary (You’re Such a Lady)” and toyed with religious dogma in offsetting that with “Jesus Was a Bluesman” while still tossing primo hooks in “Duke of Dynamite” and “Shitkickin’ Now” ahead of the more open “Stardust and Diamond Eyes” and the acoustic closer “Been So Long.” With Bjork recording all the instruments himself, a due feeling of intimacy resulted, and yet he still found a way to make it rock. How could it be otherwise?

4. Enslaved, Utgard

enslaved utgard

Released by Nuclear Blast Records. Reviewed Sept. 29.

Why do I feel the immediate need to defend this pick? I’m not sure. Norway’s Enslaved are an institution, not just of black metal, but of bringing an ideology of creative growth to that style that often willfully resists it. They are iconoclastic even unto their own work. Utgard was released as the band stood on the precipice of 30 years together and yet it stood as their most forward-looking offering yet, as co-founders Grutle Kjellson (bass/vocals) and Ivar BjĂžrnson (guitar/sometimes vocals), as well as longtime lead guitarist Arve “Ice Dale” Isdal backed up the change from 2017’s E (review here) that brought in new keyboardist/vocalist Hakon Vinje with the incorporation of drummer Iver SandĂžy, who doubles as a vocalist (and triples as a producer). The “new blood” made all the difference on Utgard, allowing Enslaved to piece together new ranges of melody in their work and offset instrumental shifts into and out of krautrock-derived progressions. Simply the work of a band outdoing itself from a band who does so at nearly every opportunity.

3a. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten and Ripple Music. Reviewed Dec. 3, 2019.

Every year I allow myself one addendum pick, and this is it. We Are was on last year’s list because it was digitally released, but the vinyl came out this year and it received its North American release this year as well, so it seemed only right to acknowledge that. So here it is in its proper place.

3. All Them Witches, Nothing as the Ideal

All-Them-Witches-Nothing-as-the-Ideal

Released by New West Records. Reviewed Sept. 3.

This is a band controlling their own narrative. Instead of Nothing as the Ideal being ‘the one they made as a three-piece,’ the Nashville outfit decided to make it ‘the one they recorded at Abbey Road.’ Were they thinking of it on those terms? Yeah, likely not, but it goes to demonstrate all the same just how much of themselves All Them Witches put into what they do musically, since not only are they continuing to refine and define and undefine their approach, but they’re setting the terms on which they do it. Each of their records has been a response to the one prior, but that conversation has never been so direct as to make them predictable. So what are they chasing? Apparently nothing. I’m not entirely sure I buy that as a complete answer, but I am sure I love these songs and the experiments with tape loops and other sounds that fill these spaces. Whatever they do next — or even if nothing — their run has been incredible and exciting and one only hopes their influence continues to spread over the next however many years.

2. Elephant Tree, Habits

elephant tree habits

Released by Deathwish Inc.. Reviewed April 13.

There was a high standard set by Elephant Tree‘s 2016 self-titled debut (review here), but their second LP, Habits, surpassed even the loftiest of expectations. With vocals centered around harmonies from guitarist Jack Townley and bassist Peter Holland, the former trio completed by drummer Sam Hart brought in guitarist/keyboardist John Slattery (also sometimes vocals), and the resultant breadth gave the material on Habits spaciousness beyond even what the first album promised. Drifting, rolling, unflinchingly melodic and somehow present even in its own escapism, Habits was not just an early highlight for a rough 2020, but a comforting presence throughout, and the further one dug into tracks like “Sails,” “Exit the Soul,” “Faceless,” “Wasted” and the acoustic “The Fall Chorus,” the more there was to find — let alone “Bird,” which I’ll happily put against anything else one might propose for song of the year. As their former UK label crumbled, Habits emerged unscathed and Elephant Tree‘s future continues to shine with ever more hope for things to come. Being able to say that about anything feels like a relief.

2020 Album of the Year

1. Lowrider, Refractions

Lowrider Refractions

Released by Blues Funeral Recordings. Reviewed Jan. 24.

Twenty years ago, Sweden’s Lowrider put out what would become a heavy rock landmark in their 2000 debut, Ode to Io (reissue review here). A follow-up years in the making even after the band got back together to play Desertfest in London (review here) and Berlin in 2013, Refractions first saw limited release in 2019 as part of Blues Funeral‘s PostWax series (discussed here), but its proper arrival was in early 2020, and there was really no looking back after that. It wasn’t just the novelty of a new Lowrider album that made Refractions such a joy, but the manner in which the band went about its work. There was no pretending that 20 years didn’t happen. There was no attempt to recapture the bottled lightning that was the first record, and Lowrider did not sound like a band “making a comeback” rife with expectations and fan-service. Refractions acknowledged the legacy of Ode to Io, sure enough, but as a step toward adding to it in meaningful and engaging ways. The songs — “Red River,” “Ode to Ganymede,” “Sernanders Krog,” “Ol’ Mule Pepe,” “Sun Devil/M87” and the 11-minute finale “Pipe Rider” — were fashioned without pretense and came across as the organic output of a band with nothing to prove to anyone but themselves. They made it their own. In a wretched year, Lowrider shined.

The Top 50 Albums of 2020: Honorable Mention

Yeah, okay. There are a lot of these, so buckle in. Last year I just threw out a list of bands. This year I’m a little more organized, so here are bands and records alphabetically.

Across Tundras, LOESS ~ LÖSS
Across Tundras, The Last Days of a Silver Rush
Alain Johannes, Hum
Arboretum, Let it All In
Bell Witch & Aerial Ruin, Stygian Bough Vol. 1
Black Helium, The Wholly Other
Boris, No
Brimstone Coven, The Woes of a Mortal Earth
CB3, Aeons
Celestial Season, The Secret Teachings
Crippled Black Phoenix, EllengĂŠst
Cruthu, AthrĂș Crutha
Domo, Domonautas Vol. 2
DOOL, Summerland
Dopelord, Sign of the Devil
Dwaal, Gospel of the Vile
Elder Druid, Golgotha
Ellis Munk Ensemble, San Diego Sessions
Emma Ruth Rundle & Thou, May Our Chambers Be Full
EMBR, 1823
Familiars, All in Good Time
Forlesen, Hierophant Violent
Galactic Cross, Galactic Cross
The Heavy Eyes, Love Like Machines
Hum, Inlet
Human Impact, Human Impact
Humulus, The Deep
Jupiterian, Protosapien
Kariti, Covered Mirrors
Khan, Monsoons
Kingnomad, Sagan Om Ryden
King Witch, Body of Light
Kryptograf, Kryptograf
Light Pillars, Light Pillars
Lord Buffalo, Tohu Wa Bohu
Lord Loud, Timid Beast
Lotus Thief, Oresteia
Malsten, The Haunting of SilvÄkra Mill
Mindcrawler, Lost Orbiter
Motorpsycho, The All is One
Mountain Tamer, Psychosis Ritual
Mr. Bison, Seaward
Mrs. Piss, Self-Surgery
Mugstar, GRAFT
Murcielago, Casualties
Oranssi Pazuzu, Mestarin Kynsi
Paradise Lost, Obsidian
Parahelio, Surge Evelia Surge
The Pilgrim, …From the Earth to the Sky and Back
Pretty Lightning, Jangle Bowls
Psychlona, Venus Skytrip
Puta Volcano, AMMA
Ritual King, Ritual King
River Cult, Chilling Effect
Rrrags, High Protein
Shores of Null, Beyond the Shores (On Death and Dying)
Sigiriya, Maiden – Mother – Crone
Six Organs of Admittance, Companion Rises
16, Dream Squasher
Slomosa, Slomosa
Somnus Throne, Somnus Throne
Steve Von Till, No Wilderness Deep Enough
Stone Machine Electric, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld
Sumac, May You Be Held
Temple of the Fuzz Witch, Red Tide
Temple of Void, The World That Was
The Kings of Frog Island, VI
Tia Carrera, Tried and True
Turtle Skull, Monoliths
Uffe Lorenzen, Magisk Realisme
Ulcerate, Stare Into Death and Be Still
Vessel of Light, Last Ride
Vestal Claret, Vestal Claret
Vinnum Sabbathi, Of Dimensions and Theories
Wight, Spank the World
Wino, Forever Gone
Yatra, All is Lost
Yuri Gagarin, The Outskirts of Reality

By no means is that list exhaustive. And to look at stuff like Psychlona, Oranssi Pazuzu, Wight, Wino, Puta Volcano, Kingnomad, Ellis Munk Ensemble, Paradise Lost, Alain Johannes, Arbouretum, Uffe Lorenzen, Tia Carrera — on and on and on — I can definitely see where arguments are to be made for records that should’ve been in the list proper. I can only go with what feels right to me at the time.

Together with the top 50, this makes over 110 albums in the best of 2020. If you find yourself needing something to hang your hat on, be glad you’re alive to witness this much excellent music coming out.

Debut Album of the Year

Molassess, Through the Hollow

Molassess Through the Hollow

Other notable debuts (alphabetically):

Atramentus, Stygian
Bethmoora, Thresholds
BleakHeart, Dream Griever
Crystal Spiders, Molt
Dirt Woman, The Glass Cliff
Dwaal, Gospel of the Vile
Electric Feat, Electric Feat
Familiars, All in Good Time
Galactic Cross, Galactic Cross
Human Impact, Human Impact
Jointhugger, I Am No One
Light Pillars, Light Pillars
Love Gang, Dead Man’s Game
Malsten, The Haunting of SilvÄkra Mill
Might, Might
Mindcrawler, Lost Orbiter
Mrs. Piss, Self-Surgery
Parahelio, Surge Evelia Surge
Polymoon, Caterpillars of Creation
Ritual King, Ritual King
SEA, Impermanence
Slomosa, Slomosa
Soldati, Doom Nacional
Somnus Throne, Somnus Throne
SpellBook, Magick & Mischief
Spirit Mother, Cadets
Temple of the Fuzz Witch, Red Tide
The Crooked Whispers, Satanic Melodies
White Dog, White Dog

Notes: I sparred with myself every step of the way here. The last couple years I’ve tried to give the top-debut spot to not just a new band, but a new presence. Green Lung, King Buffalo, etc. Molassess, with members from The Devil’s Blood, Death Alley and Astrosoniq, isn’t exactly that. So what do I do? Do I go with something newer like Polymoon, Dirt Woman, BleakHeart, SEA, White Dog or The Crooked Whispers, or something with more established players like Molassess, Soldati, or even Light Pillars?

In the end, what made the difference was not just how brilliant the songs on Molassess’ Through the Hollow, but how honestly the band confronted the legacy they were up against. The songs had a familiar haunting presence, but they were also moving ahead to somewhere new. It was that blend of old and new ideas, and the resonant feeling of emotional catharsis — as well as the sheer immersion that took place while listening — that ultimately made the decision. Turns out I just couldn’t escape it.

And why not a list? Because this feels woefully inadequate as it is. I reviewed over 250 records this year one way or another — and that’s a conservative estimate — but a lot gets lost in the shuffle and somehow it just seemed wrong this time around to call something the 13th best first record of the year. I wanted to highlight the special achievement that was the Molassess album, but really, all of these records kicked my ass one way or the other.

Short Release of the Year 2020

King Buffalo, Dead Star

King Buffalo Dead Star

Other notable EPs, Splits, Demos, etc.:

Big Scenic Nowhere, Lavender Blues
Coma Wall, Ursa Minor
Conan/Deadsmoke, Doom Sessions Vol. 1
Fu Manchu, Fu30 Pt. 1
Grandpa Jack, Trash Can Boogie
Howling Giant/Sergeant Thunderhoof, Masamune/Muramasa (split)
Oginalii, Pendulum
Kings Destroy, Floods
Lament Cityscape, The Old Wet
Limousine Beach, Stealin’ Wine +2
Merlock, That Which Speaks
Monte Luna, Mind Control Broadcast
Mos Generator/Di’Aul, Split
Pimmit Hills, Heathens & Prophets
Rito Verdugo, Post-Primatus
Rocky Mtn Roller, Rocky Mtn Roller
Spaceslug, Leftovers
10,000 Years, 10,000 Years
The White Swan, Nocturnal Transmission
Thunderbird Divine, The Hand of Man
Witchcraft, Black Metal

Notes: If you were wondering why King Buffalo’s Dead Star (review here) wasn’t on the big list, this is why. It was pitched to me as an EP and that’s how I’m classifying it. I’m taking the out. Is it an EP? Not really, but neither is it a full-length album, given its experimental nature and focus around its extended two-part title-track. Whatever it was, it was the best that-thing, and this is the category where such things go.

Again, tough choices after King Buffalo. Thunderbird Divine’s EP was wonderfully funk-blasted and woefully short (new album, please). The newly-issued Spaceslug EP branches out their sound in fascinating ways as a result of the lockdown. Witchcraft’s acoustic EP, Coma Wall’s EP and Big Scenic Nowhere’s EP all signaled good things to come, and Howling Giant’s split with Sergeant Thunderhoof was a highlight of the most recent Quarterly Review. There really isn’t a bummer on the list there, from the bitter psych of Oginalii to the industrial metal of Lament Cityscape, the unadulterated riffery of Merlock to the live-captured rawness of Monte Luna.

So again, why no list? Same answer. I want to highlight the progression King Buffalo made in their sound and leave room open elsewhere for things I missed. Please let me know what in the comments. Cordially.

Live Album of the Year 2020

Yawning Man, Live at Giant Rock

yawning man live at giant rock

Other notable live releases:

Ahab, Live Prey
Amenra, Mass VI Live
Arcadian Child, From Far, for the Wild (Live in Linz)
Author and Punisher, Live 2020 B.C.
Cherry Choke, Raising Salzburg Rockhouse
Dead Meadow, Live at Roadburn 2011
Dirty Streets, Rough and Tumble
Electric Moon, Live at Freak Valley Festival 2019
Kadavar, Studio Live Session Vol. 1
King Buffalo, Live at Freak Valley
Monte Luna, Mind Control Broadcast
Orange Goblin, Rough & Ready: Live and Loud
Øresund Space Collective, Sonic Rock Solstice 2019
Pelican, Live at the Grog Shop
SEA, Live at ONCE
Sumac, St Vitus 09/07/2018
Sun Blood Stories, (a)Live and Alone at Visual Arts Collective
Temple Fang, Live at Merleyn
YOB, Pickathon 2019 – Live From the Galaxy Barn

Notes: In this wretched year (mostly) void of live music, marked by canceled tours and festivals, the live album arguably played a more central role than it ever has, whether it was a band trying to keep momentum up following or leading into a studio release, taking advantage of the emergence of the Bandcamp Friday phenomenon or just trying to maintain some connection to their fans and the process of taking a stage. Or even playing in a room together. Or not a room. Anything. What was once a tossoff, maybe an afterthought companion piece became an essential worker of the listening experience.

You might accuse desert rock progenitors Yawning Man of playing to their base with Live at Giant Rock (featured here), and if so, fine. At no point in the last 50 years has that base more needed playing-to. And in the absence of shows, being able to hear (and watch, in the case of the accompanying video) Yawning Man go out to the landscape that spawned them and engage with their music was a beautiful moment of reconciliation. An exhale for the converted that didn’t fill one with empty promises of better tomorrows or tours to come, but served to remind what’s so worth preserving about the spirit of live music in the first place. The fact that anything can happen. A replaced note here, a tuning change there — these things can make not just an evening, but memories that go beyond shows, tours, to touch our lives.

There were a ton of live records this year. Some were benefits for worthy causes between saving venues, Black Lives Matter, voting rights organizations, and so on. And whether these were new performances from captured livestreams (Monte Luna, Kadavar) or older gigs that had been sitting around waiting for release at some point (Sumac, Dead Meadow), this, very much, was that point, and these live offerings kept burning a fire that felt at times very much in danger of being extinguished.

Looking Ahead to 2021

A list of bands. Some confirmed releases, some not. Here goes:

Dread Sovereign, Sasquatch, Year of Taurus, Apostle of Solitude, Weedpecker, Borracho, Love Gang, Jointhugger, Demon Head, Iron Man, Greenleaf, Samsara Blues Experiment, The Mammathus, Evert Snyman, Wo Fat, Conclave, Here Lies Man, Kabbalah, Komatsu, Hour of 13, Wedge, Amenra, La Chinga, Spidergawd, Wolves in the Throne Room, Vokonis, Freedom Hawk, Masters of Reality, ZOM, Eyehategod, Sanhedrin, Green Lung, The Mountain King, Albatross Overdrive, Elder, King Buffalo, Sunnata, Howling Giant, SAVER, Conan, Slomatics, Ruff Majik, Kind, Mos Generator, Yawning Sons, LantlĂŽs, Brant Bjork, Spiral Grave, Crystal Spiders, Lightning Born, Samavayo, Wovenhand, Merlock, Comet Control, The Age of Truth, Eight Bells, BlackWater Holylight, DVNE, Monte Luna.

Thank You

You’ve read enough, so I will do my best to keep this mercifully short. Thank you so much for reading — whether you still are or not — and thank you for being a part of the ongoing project that is The Obelisk. I cannot tell you how much it means to me to have such incredible support throughout not just this year, but all the years of the site’s existence. Thank you. Thank you. Thank you.

Thank you most of all to The Patient Mrs. for her indulgence in letting me get this done. I’m am amazed forever.

More to come.

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Tony Reed Posts “Funeral Suit” Video

Posted in Bootleg Theater on November 25th, 2020 by JJ Koczan

tony reed

The enviably prolific Tony Reed issued his solo acoustic debut, Funeral Suit (review here), earlier this month as the second installment of Ripple Music‘s ongoing ‘Blood and Strings’ series. It is just one of several Reed-related offerings to surface this year, but among the albums and whatnot from the goth-tinged Constance Tomb and his main band, Mos Generator, the mostly-unplugged of course stands out both by eschewing the heavy riffs and driving classic heavy grooves that Reed‘s known for, and for instead allowing him to begin a new exploration as a songwriter.

Mos Generator has only grown more progressive over the last couple albums, and Reed follows that trail onto Funeral Suit as well, as can be readily heard in the lush melodies and diversity of arrangements throughout as Reed layers his vocals, self-harmonizes, and switches between various guitars, keyboards/synthesizers and piano. The title-track, unassuming in its central strum, still bears the clarity of Reed‘s own production, and brings a wistful Mellotron progression to its midsection, integrating it fluidly with the acoustic guitar that surrounds. I’m not sure one would be correct to call it straightforward, but it’s one of Funeral Suit‘s more intimate stretches, and the video works in kind, with Reed presenting the track close on the camera in emphasis of the personal nature of the expression.

The stream of Funeral Suit is at the bottom of this post, and Reed‘s “Funeral Suit” clip follows here.

Please enjoy:

Tony Reed, “Funeral Suit” official video

Seattle songwriter and producer TONY REED (also frontman of Mos Generator) debuts an intimate monochrome video for the title track of his solo acoustic album ‘Funeral Suit’, available now on Ripple Music as part of their ‘Blood And Strings: The Ripple Acoustic’ series.

TONY REED is known for being the driving force behind Seattle’s heavy rock trio Mos Generator, as well as one of the most prolific songwriters and respected producers of the American underground rock scene. While he released his solo debut with ‘The Lost Chronicles Of Heavy Rock Vol. 1’ in 2018, never had he found the right occasion to sit down, grab a guitar and lay himself bare as freely and soulfully as he does on his acoustic debut ‘Funeral Suit’. With ‘Funeral Suit’, Tony Reed delivers his most personal work to date, pushing the experience further than the standard “man with a guitar” approach. Whether it’s the delicate arrangements, soulful vocal harmonies or piano-based escapades, this is a dense and multifaceted folk rock album with a strong progressive edge that will resonate with any listener.

Tony Reed, Funeral Suit (2020)

Tony Reed on Bandcamp

HeavyHead Recording Company on Instagram

Mos Generator on Thee Facebooks

Mos Generator on Instagram

Mos Generator on Bandcamp

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Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

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Mos Generator to Reissue The Lantern Feb. 26; Preorders Available

Posted in Whathaveyou on November 10th, 2020 by JJ Koczan

Don’t get me wrong, I’d probably be posting about a Mos Generator reissue/reworking/whatever-you-want-to-call-it anyway, because, well, it’s been like three days and I’ll admit I was starting to jones for some Tony Reed news, but look at that cover art. Man, that rules. I’m pretty sure the stuff on The Lantern — though it’s been remixed and so on — showed up on Destroy! The Mos Generator as well as on Tales From the Vault, but whatever. For the cover alone I’m happy to give this one some space. I don’t even want it on a poster. I want it on a tapestry. I want it on a throw blanket. A window treatment. Something.

You’ll note that The Lantern continues the collab between Mos Generator and Argonauta Records, which released the band’s split with Di’Aul already this year. One doubts this will be the last either. And if you missed it, Reed‘s solo record came out last week and is one of my favorite records of 2020. So there.

From the PR wire:

mos generator the lantern

MOS GENERATOR, To Reissue Finest Song Collection “The Lantern”!

Release date February 26.
Available as: 300 copies LTD GOLDEN BLUE VINYL + INSERT!

Tony Reed’s Mos Generator, who formed in 2000 in Port Orchard, Washington from the ashes of a ten year off & on collaboration between its three members, all of which are long time veterans of road & studio, inspired the heavy music scene since decades.

The need to strip down to the basics of hard rock was apparent from their start and continues to be the foundation for all the bands recent material. Mos Generator have released 9 full length studio albums, a retrospective album, 2 live albums and a plethora of split 7″ and 12” singles on such labels as Listenable, Roadburn, Small Stone, Ripple, Nasoni, Lay Bare, Hevi Sike, H42, Devil‘s Child, Kozmik Artifactz, Heavy Psych Sounds or just recently, their critically acclaimed split LP with Sludge maniacs Di’Aul via Argonauta Records.

Touring has been just as important to the profile of the band as making records has. Over the years Mos Generator has shared the stage with many great heavy rock bands across Europe and North America including extensive tours with Saint Vitus, FU Manchu, Elder, Spirit Caravan and Atomic Bitchwax. They have also played prestigious festivals throughout Europe including 2 appearances at Hellfest in France, opening up a whole new fan base to the Mos Generator sound.

After 20 years of making music the band shows no sign of slowing down. Now, the band has announced to reissue a finest collection of songs, taken from Mos Generator’s pathbreaking 2007-album, “Tales from the Vault”! Re-mastered and with its blistering new mix, “The Lantern” sounds like a different album and as you have never heard the band before, this exciting collection of tracks will be a definite must-have in every Mos Generator, heavy rock and doom metal record collection. “The Lantern” will be coming out as a limited Vinyl edition only, on February 26th 2021 via Argonauta Records, the pre-sale has just started at THIS LOCATION!

“The Lantern is a collection of songs that were originally released in 2007 on a 10” picture disc as Tales from The Vault.” Says band mastermind, Tony Reed. “The original album has been long out of print so it’s great to be re-releasing these tracks with new mixes and new artwork. The recording sessions, from June 2006, took place in our rehearsal room and capture us live playing brand new songs. A few of them were arranged only a day or two before the sessions started. I think this element makes the songs sound reckless and raw. There is an atmosphere on this record that doesn’t exist on any other Mos Generator release.”

Album Tracklist:
01. Dyin’ Blues
02. In The Upper Room
03. The Lantern
04. Nightwolf
05. O’Cataa

www.facebook.com/MosGenerator
www.mosgenerator.bandcamp.com
www.argonautarecords.com

Mos Generator, “Dyin’ Blues”

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Review & Track Premiere: Tony Reed, Funeral Suit

Posted in audiObelisk, Reviews on September 28th, 2020 by JJ Koczan

tony reed funeral suit

[Click play above to stream ‘Waterbirth’ from Tony Reed’s Funeral Suit. Album is out Nov. 6 on Ripple Music. Says Reed, ‘Musically the genesis of “Waterbirth” came to me by accident. I was visiting a friend who had an old National M4 resonator that he was playing in a tuning I wasn’t familiar with (DGDGBD). He was playing it with a slide in a blues style. I asked him if I could borrow it for the night to write something in my style with that tuning. This is what I recorded that night. The song is about being hopelessly lost and turning to the one you love to help guide you home.’]

The acoustic solo debut from Tony Reed arrives as part of a creative explosion that has been going on for years at this point. Recording at his own HeavyHead Studio in Port Orchard, Washington, Reed issues Funeral Suit through Ripple‘s ‘Blood and Strings’ series — which began with Wino‘s Forever Gone this summer –and it joins at least two splits, a dug-up-and-deconstructed single and another EP from his main outfit, Mos Generator, an archival release from the earlier goth-tinged project Constance Tomb (with a promise of a new album to follow, already in the works), and a debut full-length and second EP from the supergroup Big Scenic Nowhere, in which Reed works alongside members of Fu Manchu and Yawning Man, among a rotating cast of guests. Plus a swath of mixing and mastering projects for other artists and bands, as always. And there’s a good chance that I’ve left one or two things out.

In the context of this frenetic productivity, it’s somewhat astonishing that Reed found the time to add nuances like the self-harmonies and the Mellotron early in and the dual-layers of strum in the final fadeout of the title-track of Funeral Suit, or to tap into CatStevens-meets-AlainJohannes vibes on the progressive, finger-plugged and richly melodic opener “Waterbirth.” There are a couple reworked Mos Generator songs in “Lonely One” — originally “Lonely One Kenobi” from 2012’s Nomads (review here), which began the band’s association with Ripple Music — and “Wicked Willow” from 2016’s Abyssinia (review here), as well as closer “Who Goes There,” which appeared as a two-parter on late-2019’s Spontaneous Combustions EP (review here), but even these are given due treatment rather than simply played in “unplugged” fashion. To wit, the impassioned vocal of “Lonely One” and layers of guitar that accompany, or the slow piano balladry that suddenly feels like such a natural context for “Wicked Willow” and the choral effect that acts as a culmination for the entirety of Funeral Suit at the end of “Who Goes There.” These moments balance intimacy and melodic grandeur, emotional expression and stylistic experimentation.

As those who follow Reed‘s work to some degree or other would have to expect, he delivers this material with a steady, masterful hand. His approach to melody is clean and clear, his playing is precise but organic, and across the ultra-manageable eight-song/34-minute span of Funeral Suit, he demonstrates an awareness of his audience not only through a customary lack of pretense or in the lyrics to “Lonely One” (“I can tell you right now, people…”) and “Funeral Suit” (“…Can I find worth in you and you and you?”), but also in the breadth of arrangements throughout. A crucial first clue of the diversity to come arrives with “Waterbirth,” which is played in a style unlike anything else on the album. It’s the shortest track at 3:07, and along with the charm of a subtle Voivod reference in the first verse, it brings a melodic wash worthy of its title, Reed joining himself in the chorus for an effect conveying depth and melancholy.

tony reed

There’s a turn just before the last minute that brings handclaps and a feel like languid gospel, but of course a return to the chorus finishes, the structure duly reinforced. Even so, the message to the listener that Funeral Suit is more than guy-and-a-guitar folk emulation is immediate, and by putting “Waterbirth” first and then following it with the more straight-ahead strum of “Moonlighting,” the aforementioned Mellotron on “Funeral Suit,” and the relatively serene amble of “Along the Way” on the record’s first side, Reed likewise frames the progressive reach of the album as a priority. Thus the mind of the audience is more open to whatever the subsequent tracks might bring, and because the material that follows asks relatively few indulgences, it’s that much easier to follow along where each piece leads. This is a skill born of experience, and it makes an essential contribution to the spirit of the album as a whole.

“Lonely One Kenobi” was a standout hook on Nomads, and there may be a bit of reorienting the listener happening as “Lonely One” — the title dropping the Star Wars reference that seemed to distract from the emotionally-fueled, frankly lonely lyrics — but whether or not one assumes a given listener taking on Funeral Suit is already familiar, its harder-edged strum and its soulful vocals find it serving as a memorable inclusion here as well. It is followed and complemented by “Wicked Willow,” which departs from guitar in classic side B fashion, taking its own familiar basis and from it bringing a new texture to Funeral Suit only previously hinted toward. Slow, mellow and wistful as only a slow piano can be, it’s about as stripped-down as Reed gets here, and as it inevitably would, it highlights the songcraft that underscores all of these pieces, new or old. The same applies to the subsequent and penultimate “Might Just…” which feels stylistically like a reset back to where the album was on side A circa “Moonlighting” or “Along the Way,” with doubled-vocals in the repeated-line chorus of “Rolling along…,” melodic and straightforward, short at 3:30 but enough to satisfy and do its job between “Wicked Willow” and “Who Goes There,” which is the longest inclusion at 5:37 as well as the already-noted finale of the record, encompassing and ready for judgment-free sing-alongs as it is.

A linear build, it holds a tension in the guitar of its first half, the title lyric delivered with due paranoia. A break after two verse/chorus cycles comes at 3:25 in, and from there, the song launches into its righteous capstone movement, not a departure from what’s come before throughout Funeral Suit, but an extension thereof that speaks to one more prevailing factor of Reed‘s work across the LP, which is the forward potential. Not that he doesn’t have plenty going on besides, but having so risen to the challenge of this first offering, as a fan (I also wrote the bio for the album, which I’ll note was uncompensated only because I knew I’d want to review it as well), one only hopes he’ll continue to explore outward from the already-broad reach he establishes here. If Funeral Suit is a one-off, fair enough, but what it conveys to the listener feels far more substantial.

Tony Reed, Funeral Suit (2020)

Tony Reed on Bandcamp

HeavyHead Recording Company on Instagram

Mos Generator on Thee Facebooks

Mos Generator on Instagram

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Mos Generator & Di’Aul Premiere Split LP in Full

Posted in audiObelisk on September 23rd, 2020 by JJ Koczan

mos generator diaul split cover

Port Orchard, Washington’s Mos Generator and Milan, Italy’s Di’Aul will release a split LP this Friday through Argonauta Records. It’s a vinyl-only, limited-to-250 copies pressing, and if the pairing of bands seems random or at very least plucked out of the ether, the story behind how it came together could hardly be simpler. Reportedly, members of Di’Aul went to see Mos Generator on tour a few years back and hit up guitarist/vocalist Tony Reed about making something happen. Couple years after the fact, here we are. The life lesson is you lose nothing by sending that email, and maybe you get to put out a split with Mos Generator.

The Pacific Northwest heavy rock institution offer three tracks on side A of the quite-manageable 32-minute outing, and bring forth an installment of their ‘Plundering of the Vaults’ series with demos recorded between 2014 and 2018. As self-sufficient as they are in the studio with Reed working as producer as well as helming mixing and mastering, it’s hard to imagine the vaults aren’t overflowing at any given time, but the three inclusions here run shortest to longest and feel particularly choice.

“I Spoke to Death” opens in Sabbath-rock fashion while also invoking Americana folk, while “The Paranoid” rolls at a lumbering pace in contrast to its own obvious reference while the lyrics nod to The Stooges‘ “TV Eye” and vocal lines intertwine behind one of the most outwardly doomed progressions I’ve heard from the band. Somehow fitting, a cross-lineup (explained below) cover of Pink Floyd‘s “Fearless” — also recently taken on by Seattle/Los Angeles heavies Snail — caps Mos Generator‘s portion of the release with clarity cutting through psychedelia and a kick of energy bolstering the mellow vibe of the Meddle original while still ending with a crowd chant, maybe backwards in this case.

Meanwhile, in Milan, Di’Aul crush it. The four-piece of vocalist MoMo, guitarist LeLe, bassist Jeremy Toma and drummer Diego Bertoni celebrate 10 years of the band’s existence in 2020, and their two assembled cuts — “The House on the Edge of the World” (8:47) and “Three Ladies” (7:56) — stand in immediate contrast to side A in their focus on sheer tonal heft and impact. Beginning with two minutes-plus of ambience and stark guitar, “The House on the Edge of the World” builds into a massive and righteous nod without losing its hook in the ensuing fray.

It is H-E-A-V-Y, and harsher in its approach than Mos Generator, but makes a better complement for the fact that each act brings something different to the release. There’s sludge underlying what Di’Aul are doing, and some jabs and turns of riff in “The House on the Edge of the World” remind of YOB, but as the track chug-stop-chugs to its end, its gravity is its own. More immediate, “Three Ladies” starts out with bass and drums and is underway soon enough with its own stomp and drawl, a solo break as it heads into its midsection proving only a brief respite from the willful repetition and concrete-on-skull vibe that surrounds.

If you think you can hang, you probably can. Splits like this often become a footnote in the respective catalogs of the bands that take part in them. Mos Generator always have a slew of things going on, and Di’Aul are two years removed from their second LP, Nobody’s Heaven (review here), but for an offering that asks next to nothing of the listener beyond the time involved in hearing the thing, and for the quality of work put in by both groups, you can’t really go wrong, whether either band is new to you or not. The relatively few physical copies that exist create some urgency around it, so I’m that much more appreciative of being able to host the full stream of the split for you to check out in advance of the proper release this Friday.

More PR wire info follows under the player.

Please enjoy:

Mos Generator & Di’Aul, Split official premiere

Heavy rock icons, Mos Generator, have teamed up with Italy’s doom and sludge rock heavy weights Di’Aul for the release of a 5-track split vinyl-only LP, coming out on September 25th, 2020, via Argonauta Records!

Preorder here: www.argonautarecords.com/shop

Mos Generator’s plundering of the Vaults continues with three demos recorded between May 2014 and June 2018. Says Tony Reed, “All three of these songs were recorded live in our rehearsal space and then layers were added later in the studio. There are a few interesting things about these songs. First, they are loosely arranged ideas that were only played two or three times before we recorded them, and I think that is what helps give them the raw edge that they have. And two, there is a crossover of band line-ups. On the Pink Floyd cover “Fearless”, original drummer Shawn Johnson is playing with second line-up bassist Sean Booth. That has happened before with other configurations and I enjoy it. Someday I would like to record with both rhythm sections at once.”

After a decade of shows across Europe and four albums to date, Di’Aul have grabbed the chance to team up with one of the best rock bands of our time: Mos Generator. “We saw them live with Saint Vitus during their European tour, completely astonished from their sound, MoMo and Rex decided to write a message to Mr. Tony Reed and ask him to make a record together. And so it is!”

Di’Aul recorded two brand new songs in a one day session with longtime friends and producers Federico Lino and Alessio Massara of the Iron Ape Studio in Vigevano (Pavia – Italy), mastered at HeavyHead Recording Co. by Tony Reed himself.

Tracklist:
A Side Mos Generator – “Plundering of the Vaults : Vol II”
1. I Spoke to Death
2. The Paranoid
3. Fearless ( Pink Floyd Cover )

B Side Di’Aul
1. The House on the Edge of the World
2. Three Ladies

Mos Generator on Thee Facebooks

Mos Generator on Bandcamp

Di’Aul on Thee Facebooks

Di’Aul on Bandcamp

Argonauta Records website

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Tony Reed Announces Solo Acoustic Funeral Suit Album out Nov. 6 on Ripple Music

Posted in Whathaveyou on August 31st, 2020 by JJ Koczan

tony reed

This is one of the best records I’ve heard this year. Period. Tony Reed‘s Funeral Suit pushes well beyond the dude-and-guitar expectation of a rock frontman’s “solo acoustic debut” and unfolds a new breadth of his well established songcraft. I was fortunate enough to write the bio for it that you’ll see below, and I mean every single word I say in that thing. It’s time to start thinking of Tony Reed on a different level. Like, I hope I get to, but I probably shouldn’t be cool enough to do a premiere from the album, that kind of thing. It could not be more fitting in my mind that Reed is following Wino in Ripple‘s ‘Blood and Strings’ series. That’s the kind of level on which his work should be considered at this point.

Album info, preorder links, the bio I wrote and streaming single follow here, all via the PR wire. More to come:

tony reed funeral suit

TONY REED to release solo acoustic album ‘Funeral Suit’ on Ripple Music; first single streaming!

TONY REED New solo album ‘Funeral Suit’ Out November 6th on Ripple Music

US Preorder: https://ripplemusic.bigcartel.com/products?utf8=%E2%9C%93&search=funeral+suit
EU Preorder: https://en.ripple.spkr.media/artists/tony-reed/tony-reed-funeral-suit.html

Ripple Music announce the signing of Seattle heavyweight, multi-instrumentalist and respected producer TONY REED (also frontman of Mos Generator) for the release of his debut solo acoustic album ‘Funeral Suit’, as part of the ‘Blood And Strings: The Ripple Acoustic’ series. Stream the first single and preorder the album now!

With ‘Funeral Suit’, TONY REED delivers his most up-close and personal work to date. Known for being the driving force behind heavy rock stalwarts Mos Generator since 2000, the prolific songwriter made his solo debut with ‘The Lost Chronicles Of Heavy Rock Vol. 1’ tribute record in 2018, yet never had he found the right occasion to sit down, grab a guitar and lay himself bare as freely and soulfully as he does on ‘Funeral Suit’.

“A large percentage of the compositions on this album where the first or second takes of the music and vocals for songs that had been written and arranged only minutes earlier”, he says. Whether it’s the delicate arrangements, Reed’s velvet-smooth vocal harmonies or stirring piano-based moments, ‘Funeral Suit’ conveys a life-wide array of emotions that resonate in a universal way, regardless of the listener’s music inclinations. The debut single and title track showcases perfectly this multi-faceted aspect: a beautiful lament progressively turning into a ray of hope.

About the album themes, Tony Reed explains: “The album is titled ‘Funeral Suit’ because my father passed on August 16th 2019, and I went out and bought a nice suit for the funeral. The song is about how I felt and the wonder of how his passing may change me in the future. It’s also about the ones who are the closest to you in this life. Many of the songs are about guilt and regret. Insecurity, selfishness, and ego are matched by integrity, compassion and confidence.”

‘Funeral Suit’ comes as the second chapter of Ripple Music’s ‘Blood And Strings: The Ripple Acoustic’ series, in which some of the most admired names in rock and metal unplug to record albums of acoustic heaviness. It was recorded and mixed by Tony Reed at HeavyHead Recording Co., and will be issued on November 6th, 2020 and available now to preorder on deluxe edition vinyl, CD and digital edition via Ripple Music.

TRACK LISTING:
1. Waterbirth
2. Moonlighting
3. Funeral Suit
4. Along The Way
5. Lonely One
6. Wicked Willow
7. Might Just…
8. Who Goes There

BIO:

TONY REED belongs to a rare echelon of relentless creativity. A rock and roll lifer since his days self-recording tape demos as a teenager, he has spent the last three decades in an increasingly progressive pursuit of his art. In bands like Treepeople, Twelve-Thirty Dreamtime, Constance Tomb, Stone Axe, and his steadiest and most influential, Mos Generator, he has refined a songwriting, performance and recording process that is unmatched, and amassed a lifetime discography broad enough to make the rest of the universe seem outright lazy.

Tony Reed has toured on multiple continents and especially since revitalizing Mos Generator as a stage act in the early 2010s, earned a reputation for bringing the same ferocity to the stage as to the studio. As a frontman, Reed harnesses a classic rocker’s energy, but is only ever forward-thinking in his execution and engagement with his audience. At dive bars or huge festivals, his name is synonymous with a level of mastery that is no less his own than the songs he writes.

Headquartered in Port Orchard, Washington, his HeavyHead Studio is home to a fully-stocked production facility, and though Reed most often uses it for his own ends, the words “Mixed and Mastered by Tony Reed” have become a staple of heavy underground releases. His collaborations with artists, whether through split releases or actually sitting in with other bands, are rousing endorsements for listeners in the know, and his exploration continues unabated.

Whether it’s incorporating new elements of space and prog into Mos Generator, reviving the goth-tinged Constance Tomb, or beginning the entirely new pursuit of an acoustic/piano-based solo incarnation under his own name, TONY REED is a treasure of American rock and roll and someone whose soul bleeds into everything he crafts. It is time to start including his name among rock’s truest ambassadors.

https://tonyreed.bandcamp.com/
http://www.facebook.com/MosGenerator
http://www.instagram.com/mos_generator
https://mosgenerator.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

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Mos Generator Release “In the Upper Room” Digi-Single

Posted in Whathaveyou on August 19th, 2020 by JJ Koczan

Bottom line here? ‘Hey everybody, Tony‘s got a thing!’ I really can’t break it down any more than that. Quarantine life would seem to suit Tony Reed‘s studio proclivities, as he and his band Mos Generator have a barrage of releases in the works for the coming months through a variety of labels, taking part in comps, releasing splits, EPs, and one-off singles like “In the Upper Room” here. I’ve stopped counting all the upcoming outings, to be perfectly honest with you — I know I need to write a bio for his solo record this weekend, so that’s on the calendar — but yeah, if you think you can keep up with him, you’ll probably have to quit your dayjob just to properly dedicate yourself to the task.

“In the Upper Room” — recorded in 2006, mixed presumably last week — has made its way to Bandcamp both in its completed form and in the isolated tracks that make it up. Guitar sounds pretty slick too. And if doing that seems weird to you, Tony‘s right, this kind of thing is all over YouTube. And what’s more? I kind of like hearing that drum groove after the full song. Apparently the song is going to be released as part of a thing next year — maybe the archival vault series? — but it’s name-your-price now, and Reed tosses in a nice “lookout!” near the end, so have at it.

He posted the following:

mos generator in the upper room

Mos Generator – In The Upper Room – 2020 mix with isolated stems

I am remixing a recording session from June 2006 that will be re-issued in early 2021. During the remixing of these sessions I thought it might be cool to share some stereo “stems” of the recording. In this download you’ll hear the final mix but also be able to listen to stereo mixes of each player separately. You can find a lot of this kind of stuff up on youtube. I really like listening to isolated tracks so I thought I would share some online.

Here’s a bit about the session. In The Upper Room was recorded to 16 track 1” tape in our 9’x12’ jam room in June of 2006. All of the bed tracks were cut live in the room and that is why you can hear audio bleed over in each performers microphones. Upper Room was only a few days old when we recorded this so being in close quarters helped us play off of each other. After the live track was finished I did quite a few guitar overdubs and the vocals (I had a cold). The microphone setup was very minimal for these sessions.

As far as I can remember it was like this (or close).

Kick (outside) EV re20
Kick (beater side) Shure sm57
Snare top: Shure sm57
Rack tom: Equitek E-100
Floor toms: Some kind of condenser microphone in the middle of both floor toms.
No overhead microphones. All cymbals were capture by the tom mics. That is why I used condensers.
Bass: AKG d3400
Guitar: Shure sm57

1. In The Upper Room (2020 mix) 05:08
2. In The Upper Room (stereo drum stem) 05:08
3. In The Upper Room (stereo bass stem) 05:08
4. In The Upper Room (stereo guitars stem) 05:08
5. In The Upper Room (stereo vocals stem) 05:08

Recorded on a Tascam MS16 to 1” tape.

Tony Reed: guitar, vocals
Shawn Johnson: drums
Scooter Haslip: bass

http://www.facebook.com/MosGenerator
http://www.instagram.com/mos_generator
https://mosgenerator.bandcamp.com/

Mos Generator, “In the Upper Room”

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